Classic Mode

Music Trade Review

Issue: 1901 Vol. 32 N. 1

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
glance, but students are criminal in the
laxity of their work. They rarely think
of art as art, but as a medium for making
money. Hard work they absolutely will
not do. A tea or a dressmaker's appoint-
ment is of more importance than a lesson
let alone a study hour, and then the
slipshod, careless manner in which they
practice is more dangerous than to let
practicing severely alone. How many
pupils have ambition to rival Sem-
brich, who would not put themselves
out, to the extent of learning a major from
a minor chord, who would not devote one
hour a day to the technic of the voice, and
after all this worthless work if a kindly,
well-meant criticism be offered, the deadly
enmity of the aspirant for fame is as
certain as the dawn of day. Teachers
thrust unripe pupils on to the public,
not always because they want to, but
because the pupils are determined to ap-
pear, and it means the loss of a pupil if
this be denied them. This is the first de-
cadent step. Then come press notices for
reproduction; a word is eliminated here
and a sentence there, until a notice in which
a few agreeable things were said in order
to leave a little ray of hope has been trans-
posed into a blaze of words to which noth-
ing could be added if it were written of
Sembrich or De Reszke. Then come the
hundreds of other teachers with their
thousands of green, unripe and totally
indigestible pupils who thought they were
not quite ready, but if Number One
made such a success, and "got along" on
that sort of thing, there is nothing on
earth to prevent them from doing the
same thing. So they do—and that is what
we have to listen to; that is vocal art as
she is traduced. Angels and Ministers of
Grace defend us!
ness, hatred; but D'Indy must be suffer-
ing from art's bitterest enemy, jealousy, to
have so far forgotten dignity and truth
as to make a statement of that sort
while at the head of an institution which,
he knows, if he knows anything, will be
largely supported by the Semites who
never fail to support art, to educate their
children if they show the slightest ten-
dency to musical talent. The truth of
this statement and the untruth of D'Indy's
is proven by one hasty glance at the his-
tory of the great artists of to-day, of
the past, and could we but look into
the future the Semitic blood would be
distinguishable in music's heart throbs
just as it has been from the day that the
children of Israel sang in the desert. It is
possible that D'Indy has the excitable tem-
perament of the Frenchman, but that is
by no means the temperament which, as in
the case of the Semite, has grown from
suffering, oppression and sorrow. For cen-
turies, nineteen in number, the Jew has
been knocked from pillar to post, his home
has been pillaged and destroyed, his family
has been scoffed at and scorned, and
in return for all this let us see what he has
gained. Endurance, mental discipline and
a soul that knows suffering and rises supe-
rior to the emergency. Consequently the
Jew's relation to music could not be more
intimate, for to him for centuries has been
given that note which comes from a soul
crushed until it gives forth its purest and
best, and that song reaches the heart as it
came from the heart. D'Indy's remark
may be another seed of hatred planted
against the Semite, but he cannot prevent
the race from producing Rubinsteins and
Joseffys, and Rosenthals, and Bernhardts,
and Goldmarks and—but wherefore enu-
merate?
D'llNDY AND AINTi-StfllTISn.
CROCHETS.
T H E Schola Cantorum has just opened 1\|EW YORK is an admirable dumping
ground for assorted styles and sizes
new quarters in Paris. Upon this
of
musical
aspirants. They come from the
occasion, Vincent D'Indy, director of mu-
sic, gave a most interesting address, part East, from the West, from the North, from
of which is translated from Le Monde Mu- the South, from Europe, from Australia,
from Canada, from—well, what matter?
sical in another column of this issue.
At the same time there was one clause They come, that is all that absolutely con-
which was not translated; it was a clause cerns New York. This helps to make New
which would have degraded the article from York cosmopolitan; it also helps to show
the height which it otherwise attains. The many of New York's students what not to
clause in question was the following: "My do. Would that it might affect New York's
dear friends: That which we should seek music committees and its managers and
in our works of art is not the profit. its promoters of music in general in the
Let us leave such negotiations to the too- same manner.
numero s Semites who encumber music T UCKY Paderewski! Is his wife also his
since it has become a source of revenue."
press agent besides being his business
Such a remark can only come from a manager? If so, gentlemen, hats off to
country reeking with the Dreyfus horror one who can at a moment's notice have
—entirely a case of Anti-Semitism. One him killed in a duel, his picture in the
can understand prejudice, narrow-minded- papers while he is calmly enjoying an after-
dinner smoke. However, this statement
before his marriage would have carried
more advertising power, as it would have
been signal for all of the dear, adoring, wil-
lowy girls to drape his photo and wear a
band of crepe on the left leg of their pi-
anos. It is to be hoped, however, that De
Pachmann will not hear of this as it might
make a parallel case with the man who,
when told that his mother-in-law was dead,
exclaimed, "Don't, please don't make me
laugh; I have a cracked lip."
Jt
M E V E R a concert in New York but the
hot water pipes at Mendelssohn Hall
are out with their little hammers, and such
pounding and beating no one ever heard.
There is no danger that any one might
drop to sleep during a Beethoven sonata,
even the Opus i n would be perfectly safe,
as the pipes would be insurance against
somnolence. But if managers and concert-
givers pay forty or fifty dollars, it would
seem that the proprietors of the hall might
pay a boy fifty cents to drain off the water
accumulated in aforesaid pipes.
j*
\ 1 7 I T H January ist, 1901, the works of
the following composers will have
become exempt from royalties and will
henceforth become cheaper: Ignace Mo-
scheles, Charles de Beriot, Joseph Strauss,
Theodore Oesten and M. Balfe. Even at
a bargain sale, who wants Balfe and Oesten
in the twentieth century? There are doubt-
less many violinists who will revel in the De
Beriot pyrotechnics, and Moscheles—dear,
good, simple, old Moscheles—will always
retain respect; Joseph Strauss will always
be the great and only original Waltz King
and Johann will run him a close second,
but even now Richard is no longer afraid
to be just plain Strauss, for every one
knows that the great Strauss in the public's
eye at present is he of Zarathustra fame.
Jt
A NOTICEABLE fact during the holi-
day season was that most of the ab-
sent-voiced beggars who sang on the
street to attract the financial attention of
the passersby sang La Marseillaise. Is it
that they are French, or do they know
that there is no Frenchman alive who
could refuse a quarter to the tune of his
national hymn? Too bad that America
has not a song equally valuable to these
poor wanderers, but then "A Hot Time in
the Old Town" goes a long way.
j*
TT would be interesting to know what are
the qualifications necessary for an ap-
pearance as soloist with the Rubinstein
Club, also where the program committee
picked up such a gem as Massimo Massimi,
the tenor who climbed up and down the
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
THEODOR BJORKSTEN.
'"THERE is no more noted vocal teacher
* in America than Theodor Bjorksten,
who has attained this position through the
remarkable results which he has been able
to show. In this day of uncertainties, with
thousands of teachers in the field who are
positively dangerous to the entire future
of vocal music, it is a real pleasure to
be able to speak truthfully of this man
and his work.
Bjorksten has gained
this standing in the remarkably short
T T OW happy dear old Handel would be
space of twelve years time, during which
could he but know what an absolute period he has put forth a very large num-
necessity he is to give the touch of dignity ber of pupils who are occupying church
to the flight of the years as they demise. positions all over America. Many success-
Is there a hamlet so far behind the times ful teachers are widening the circle of his
that it has not a chorus and soloists, do- good work. Prior to his location in New
York he was known as tenor with Christine
mestic or imported, to present the Messiah?
Nilsson and with her made tours all over
In some cases he would be happy, in Europe and America. In the height of his
others—but then he has been an angel success as singer he withdrew from that field
to settle in America as teacher and to sing
long enough to be forgiving.
occasionally. During his period of teaching
JMOW what will we do, who have had he not only advanced his pupils, but his
twentieth century waltzes and twen- own voice developed to such a great exterh
tieth century polkas and ditto clubs et al. that he has been urged by many to take
his place upon the concert stage again.
for the past few years ? This is where we
This we hope sincerely Bjorksten will
get our punishment, for even the fin de decide to do, for tenors of his caliber and
siecle is over and we do not yet know what ability are certainly rare. Admirably school-
the baby century will be christened; we ed under Delle Sedie, whose method will
only know that it arrived just as the old always stand as one of the greatest of all
times, in addition to Bjorksten's own
year petered out.
musicianship, which is very great, and
\ 1 7 H A T has happened to Puccini? Was his original ideas which a man of his
he not to have conducted his own stamp must evolve, he represents to-day
an artist of great value to vocal music. Not
opera, La Boheme, in New York? Per-
alone in attention to the voice has Bjork-
haps he has been vaccinated and couldn't sten displayed great care and taste,
come, or rather, perhaps it is a good thing but his studio and the perfection of
for the ewige geistrcich press agent that detail and surroundings bespeak art
in its most refined form.
The studio,
paper won't refuse ink.
one of the most elegant in Carnegie
A N D so Delia Fox is married. Well! Hall, is large enough to have permit-
who'd have thought it? Her first ted a large stage to be built at one
end of it, for the benefit of those
venture too.
studying operatic roles, and as plat-
A TALK ON THE VOICE.
form for musicales of his own.
The
IWl RS.W.VAN RENSELLAER LLOYD stage is not bare by any means, but
** invited a number of friends to her is daintily furnished, and in one corner
home on Fifth avenue to hear a talk on stands a shrine dedicated to Bach, consist-
the Technique of Musical Expression, a ing of a case containing every known work
wonderfully comprehensive lecture by the of that great master, surmounted by a val-
eminent voice teacher, Albert Gerard uable bust of Bach with a brass candelabra
Thiers, who still further illustrated his on either side. When it is known of the
points by group^ of songs which he pre- existing reverence for Bach it will not be
sented himself? His line of argument is surprising that Bjorksten organized the
that all musical expression is based upon a club known as the Bach Singers for the ex-
philosophical law which is tangible, en- clusive study of Bach. This club accom-
abling the subject to accomplish correctly plished marvelous results, yet after giving
it life Bjorksten was obliged to resign as
that which he properly understands.
After twenty years of successful study conductor, owing to the severe pressure of
and teaching, Thiers is certainly an au- his duties as teacher and his own study, to
which he gives great attention.
thority upon the voice and singing.
florid work in the arias he attempted as
though they were greased poles. There
is no doubt, however, that the audience en-
joyed him, and why should it not. It is
not often that one of his attainments finds
the opportunity to exploit himself before a
swell New York audience, and it is sin-
cerely to be hoped that it will be a long
time before he has a similar chance.
A1ME LACHAUME.
A MONG the most reliable musicians of
**• America is the well-known pianist
and composer, Aime Lachaume, who has
been hiding himself in the Philadelphia
College of Music for some time past. La-
chaume has just severed his connection
with that institution and is to delight his
many friends by resuming his public work.
He will go on tour with Gerardy.
In February, Miss Ruth Martin, of
Washington, D. C , will, with the assist-
ance of Bjorksten, give a magnificent
recital at the British Embassy in Wash-
ington. Miss Martin is the principal vocal
teacher at the National Cathedral School
(Episcopal) but she comes over for her
lessons twice a month to keep up her
studies. There are many recitals planned
for New York and it is safe to say that
Bjorksten will be very welcome on the
concert platform where he belongs by right
of his beautiful voice, his exquisite style
and his keen musical intelligence.
He will, as usual, spend his summer at
Bar Harbor, where he always takes large
classes with him to continue their studies.
One of the latest to study with Bjorksten
is Bert Georges, of San Francisco, Cal.,
whose magnificent baritone voice is already
showing the immense benefit of his work.
Bjorksten is noted for one thing above
all others, and that is equally conscientious
treatment of pupils studying as amateurs.
To this fact, no doubt, is due his great
and continued success.
riRS. JESSICA DE WOLF.
T~\URING the past month this admirable
**-* artist sang two notable engagements
in which her success was remarkable.
The soprano role in Elijah she sang in
Minneapolis, winning most laudatory press
notices. In Boston she sang the Christmas
presentation of Messiah with the Handel
and Haydn Society.
Nowhere has the
magnificent control of her breath, the
beauty of her tone and the intelligence of
her interpretative ability been shown to
such an advantage as in the new Sym-
phony Hall.
" Rejoice ye my People " and " I Know
that my Redeemer Liveth " were works of
art in the highest sense, and the reception
accorded her by the critical audience of
Boston is the highest tribute that she could
desire.
The choral work under Etnil Mollenhauer
was admirable as always under his skilful
baton. Miss Adelaide Griggs, contralto, was
disappointing. Willis E. Bacheller, tenor,
and Joseph Baernstein complete the list of
soloists.
j*
AN ARION CONCERT.
On Wednesday, January g, 1901, a pub-
lic concert will be given by the Arion Sing-
ing Society, under the auspices of the
Brooklyn Institute, in the Academy of
Music, at which the following soloists will
appear: Miss Maud Powell, violin; Miss
Louise B. Voigt, soprano; Mrs. Van
Duyn, alto; E. C. Towne, tenor; F. Louis
Berger, tenor; Andreas Schneider, bari-
Bjorksten will be heard shortly in a ton; Dr. Carl Dufft, bass; the Arion with
number of recitals, assisting pupils of his 120 male voices and the Arion Ladies
Chorus of ninety voices. This will be the
who are to appear.
Jan. 10, Miss Martha Strickland, lyric first appearance of the famous violinist,
Maud Powell, after her successful musical
soprano, will give a recital in New York.
tour
through Europe. The latest work of
Jan. 12, Miss Elizabeth Davis and
the
well-known
American composer, L. V.
Bjorksten, are invited to give a recital at
Saar,
"Die
Vaetergruft"
(Our Forefathers
Buffalo. Miss Davies, who has a powerful
Tomb),
which
is
dedicated
to the Arion,
dramatic soprano, will give a recital Jan.
will
be
heard
for
the
first
time
in this con-
22, in New York, at which she will also
cert.
have the assistance of her instructor.

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